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It was a 5:30 start and I rolled into the venue about half an hour before that. Already, familiar faces were in ample supply, and they’d only be more so over the course of the evening. I have the feeling it’s going to be that kind of weekend. Right on.

The night went like this:

After the Sun

Along withÂ Earthride andÂ Solace (who were two for two at that point),Â Ohio’s After the Sun playedÂ SHoD in 2000, the same year they formed. They’d return in 2001 as well. Given their style, it’s pretty notable that they’re actually not from Maryland itself, as their traditional take on doom definitely seemed to have been born of an awareness of the likes ofÂ The Obsessed,Â Pentagram,Â Unorthodox, and so on. After putting out an EP in 2001, they released their first full-length just last year in the form of a seven-song self-titled, and they served it well live, making a highlight out of “Delusion of Sanity” late in the set. They had a new short release,Â The Demise, out for the festival, and were solid, workingman’s doom rock, the guttural belt-out of vocalistÂ Doug Perry recalling earlier metallic grit while the chug of Lance Collier‘s bass andÂ Rob Perkins‘ guitar and the thud ofÂ Bryan Kaiser‘s drums provided suitable backing for such conviction. The fact that they’ve released more music in the last nine months than in the prior 17 years shouldn’t be lost, and one has to wonder what their future plans are with this feeling very much like a return set, on-stage altar and all.

Freedom Hawk

This band just rocks. It hasn’t been that long since the last time I saw them, and they were still one of the sets for which I was most excited. There’s no bullshit to Freedom Hawk. They’ve got the songs. They plug in and kick ass and then they’re done. Five records deep, they know they’re doing it right and they play with that conviction. “Blood Red Sky,” “Lost in Space,” “Solid Gold,” “The Darkness and the Light,” “Radar,” “Executioner” and “Indian Summer” made for a quick set that seemed even faster than it was, but the Virginia Beach four-piece very obviously made the most of their time. I still have “Indian Summer” stuck in my head, if that’s any indication.Â Freedom Hawk only played the final Stoner Hands of Doom in 2013, which was held in Richmond, Virginia, and saw fest-organizersÂ RobÂ andÂ Cheryl Levey hand the reins toÂ Brendan Burns (who at the time ran the Eye of the Stoned Goat festival), but any excuse to have them in just about any lineup is cool as far as I’m concerned. They’re just doing a weekender aroundÂ Maryland Doom Fest, but they absolutely brought it like they’d been on the road for weeks.

Weed is Weed

Double-dutyÂ Sherman! And on guitar, no less! With Gary Isom playing drums! With the incense-burning bong-shaped mic stand present and accounted for, Earthride frontman Dave ShermanÂ took the stage with the three-guitar riff machineÂ Weed is Weed to bask in crunchy nodder vibes and, as they always seem to do, have a really good time. I’ve been lucky enough to see them a couple times now — always in Maryland — and I don’t think they’ve ever had the same lineup twice. Sherman playing guitar was a nice touch, andÂ Isom‘s move back to drums (from guitar) was of course nothing to complain about either. They lurched into “The Bong Remains the Same” and the eponymous “Weed is Weed” and sundry other greatest hits, and the room was with them all the way. I don’t know if they’d get the same reception anywhere else, but at Cafe 611, they were home, and it was a family atmosphere all the way through. The lights were green, and by the time they were done, they only seemed greener. If the East Coast had the Pacific region’s same proclivity for using the word “gnarly,”Â Weed is Weed might be the standard by which that was measured.

Deer Creek

At some point early in the set, Deer Creek guitarist/vocalist Paul Vismara noted that it was the band’s first show east of the Mississippi River in something like 17 or 18 years, and he thanked all the bands who have played their native Colorado in the meantime because, as he put it, “that’s a long fucking drive.” I believe it. Vismara — currently working on cover art for the next Solace record — and fellow guitarist Conan Hultgren, who also ran Game Two Records — the first Sourvein, the Halfway to Gone/Alabama Thunderpussy split, releases from Pale Divine, Negative Reaction, etc. — led the four-piece through a round of massively-riffed tonal plunge, a noisy, sludgy aggression cutting through the thickness of Hultgren‘s andÂ Paul Vismara‘s guitars andÂ Stephanie Hopper‘s bass, set to roll from drummerÂ Marc Brooks. Their late-2018 EP,Â Quisling, wanted nothing for atmospherics, and their live presentation had that same sense of open-space, but neither was the impact neglected, the band hitting hard and locking into raw doom and sludge with an abandon more willful than reckless and a focus on mood that no one else would touch for the remainder of the evening.

Devil to Pay

I know Indianapolis’ Devil to Pay played SHoD in 2012, because I was there. It was the one in New London, Connecticut. They also played in 2004, 2007, 2009 (I was there, too), and indeed 2013, so with five appearances total, that makes them the most-SHoDded of the bands playing the first night of Maryland Doom Fest. Not a minor distinction, but of course they’ve done plenty since as well, making their debut onÂ Ripple with 2013’s Fate is Your MuseÂ (review here) and following it withÂ 2016âsÂ A Bend Through Space and TimeÂ (review here). They’re about due for a new record — though now sharing guitarist/vocalistÂ Steve Janiak withÂ Apostle of Solitude (playing this weekend) as well as The Gates of Slumber — and indeed they had new songs called “Heave Ho” and “37 Trillion” in the set alongside favorites like “Ten Lizardmen and One Pocketknife,” which seemed to fit well alongside their melodic, heavy and straightforwardly structured songs. Like Freedom Hawk, they’re rarely dug into frills of any kind, and it had been too long since I saw them, but they reminded of what a well-kept secret they are and gave me something to look forward to in their next record, whenever it might show up.

Wasted Theory

Big news coming next week from Wasted Theory. I’m not going to spoil it, but it’s not a new record — according to drummer Brendan Burns that’s still in the “messing around with riffs” stage, and fair enough since they released Warlords of the New Electric (review here) just last year — but it’s big news. And cool news. You know, I don’t always get down with where Wasted Theory land in terms of theme and whatnot, but as I watched guitarist/vocalist Larry Jackson, Jr. lead the band — Burns, guitarist Andrew Petkovic, bassist Corey Pettingill — through the set, I thought back to the first time I saw them early in 2013, and the difference six years have made in their sound is huge. On every level in terms of songs and performance, they’re a more professional, realized band, and yeah, they should be with three full-lengths out, but it’s still striking just how far they’ve come and how much work they’ve put in to find their place in Southern heavy rock. They’ve locked into their niche and set about developing as players and songwriters, and despite lineup changes they’ve never done anything but move forward. Look out for that news this week and join me in being vicariously happy for the band when the time comes.

Solace

Solace are chaos. So much chaos. From the about-to-fly-off-the-rails dual-leadwork of Justin Daniels andÂ Tommy Southard to the fact that they hadÂ Danny Golin (Halfway to Gone) sitting in on drums for the set after only rehearsing with him twice, to frontman Justin Goins spillingÂ all the beer, the New Jersey five-piece are barely able to be contained on a stage — and atÂ Maryland Doom Fest, they weren’t;Â Goins definitely spent some time in the crowd. They started recording their new album a year ago, reportedly, and I’ve already put up I think more than one news piece about it being done, but indeed, the thing’s still in progress, but whatever they do, wherever they go,Â Solace bring that sense of punk-metal danger with them, and it’s not just about a threat of violence, though maybe that too, even in the one new song they played, but the material itself has this frenetic energy to it that pushes everything into the red — figuratively and literally in terms of the lighting in this case — and when their set was done, you could almost feel the crowd at Cafe 611 exhale the breath it had been holding while they played. Hey,Â Solace — finish the goddamn album already. The world needs more of this kind of destructive catharsis. Badly.

WarHorse

Yeah, so I know Massachusetts’ WarHorse only have two shows booked — this and Psycho Las Vegas in August — but I’m going to tell you straight up that this reunion is going to have to be a real thing whether they like it or not. The offers are going to keep coming. As in: “start writing songs and get your passports ready.” Already on the lips of fest-goers since the start of the day, the trio of bassist/vocalist Jerry Orne, drummer Mike Hubbard and Terry Savastano laid waste to the room. If Solace were the bull in the china shop, WarHorse were the steamroller knocking over the building afterward. It was magnificent. I never saw them during their original run, but their lone LP, As Heaven Turns to Ash (discussed here), is the stuff of legend — especially in the Northeast — and within the first five minutes of “Horizons Burn Red,” it was obvious they need to keep going. The set was that, plus “I am Dying,” “Scrape,” “Lysergic Communion” and “Black Acid Prophecy,” and when they were done, people were shouting for more. Rightly so. You know how you’ve been listening to that record for all these years and thinking like, “Wow, this must’ve been amazing to see live?” Well, it still is. Tour, new songs, album, festivals, all of it. They sounded like a band ready to get their due.

Earthride

I’m not sure how else you could hope to close out the night but with Earthride, who, again, tied together the spirit of Stoner Hands of Doom with Maryland Doom Fest perfectly. There was some problem early on with the bass rig, but it got worked out and after being introduced by drummer Eric Little‘s daughter — he looked pretty flabbergasted — they were off and rolling soon enough into the quintessential Chesapeake nod of “Something Wicked,” the title-track of their most recent album (review here), which came out in 2010. The intervening years have found vocalist Dave Sherman involved in Weed is Weed and the Spirit Caravan reunion that morphed into the current incarnation of The Obsessed, as well as other projects in the works and lineup changes in Earthride itself mostly in the bassist role — Greg Ball has handled guitar for the last several years — and true, they had the Witch Gun 7″ out in 2017, but even so, it’s time for a fourth Earthride album. I was dragging ass by the time they went on, butÂ Earthride are kingpins of Maryland’s heavy underground and there’s nothing quite like seeing them on their home turf. As ever, I came out of doing so with no regrets whatsoever. They are a definitive band for whatÂ Maryland Doom Fest is all about.

—

It was, uh, late, when I got back to the AirBNB where I’m staying a few blocks away from the venue. I crashed on the futon in this room at about 2AM and was up before 7 thinking I needed to start making coffee and writing. Correct on both accounts. Today is another packed day — they all are — but it starts a little later, so I’ll see if I can’t crash for a bit this afternoon ahead of making my way over to Cafe 611 again. Also need to buy a toothbrush, so yeah, I think I’ll go do that. After I sort pictures.

The actual schedules aren’t out yet for the four days of Maryland Doom Fest 2019, but even the day-splits for the massive lineup are good to know since this will be the first one with two venues and, thus, the first one with schedule conflicts (assuming the rooms run at the same time). That will invariably lead to some difficult choices, but so it goes in the land of doom — aka Frederick, MD. One way or another, the lineup is maddeningly good from its headliners in Pentagram, Conan, Earthride and Mothership right on down through the likes of Seasick Gladiator and Greenbeard, playing earlier in the day. But it’s good to get some basic idea of who will be where, when, because given the swath of bands, it’s going to be one to schedule where your feet are at any moment in order to miss as little as humanly possible.

By the way, how fucking awesome is the idea of Maryland Doom Fest paying homage to the 20th anniversary of the long-running/now-defunct Stoner Hands of Doom festival? That lineup could hardly be more perfect if they got Eternal Elysium over for it as SHoD once did. Especially the top three there. Unstoppable.

The Maryland Doom Fest celebrates its 5th anniversary this upcoming June and has confirmed FIFTY of today’s heaviest bands to grace the stages of two venues in 2019. For the first time in its history, MD Doom Fest brings international artists, the mighty CONAN from the United Kingdom and INTERITUM from Tasmania, with 48 hallowed USA acts coming from coast to coast!

In a dual-ceremonial event, the MD Doom Fest Pre-Party on Thursday, June 20th is a 20th Anniversary celebration of the Stoner Hands of Doom Festival (ShoD), with a spectacular lineup. All bands have performed at fantastic SHoD fests of years past! The Pre-Fest / SHoD 20th Anniversary Celebration will be monumental. We invite everyone to become part of the family at The Maryland Doom Fest 2019 events for #4daysofdoom!!

Holy fucking shit. It’s a good thingÂ Maryland Doom FestÂ 2019 isn’t until next June, because it’s going to take me that long to process how badass this lineup is. It’s likeÂ JBÂ decided this was the yearÂ everybody plays. A fourth day has been added. A second venue has been added — it’sÂ Cafe 611 andÂ Guido’s Speakeasy now — and wow. Just, fucking, wow. The headliners:Â Pentagram,Â Conan,Â Earthride andÂ Mothership. And the list of bands that follows is absolutely staggering. Of course some things are bound to change between now and then, and there are announcements yet to be made about the pre-show, but really. They’ve absolutely, positively gone to a completely new level of festival here.

It’s gonna be crowded.

And it’s gonna be a blast. If you need me, I’ll be booking my room at the Motel 6 in Frederick.

The announcement was simple and came just in the form of the poster — art is byÂ Kyle Stratton, whose bandÂ Atala also make a return to the bill — and from near and far, far and wide, acts are coming in to make what looks like it’ll be an absolutely unforgettable weekend (-plus) of heavy.

Here’s the lineup:

MARYLAND DOOM FEST 2019 – JUNE 20-23

DOOMSTERS, GRUNGERS, SLUDGERS, STONERS, & PAGANS â

We are extremely pleased to present to you……The Maryland Doom Fest 2019 lineup!!!

50 of the heaviest, most talented bands to grace the stage.

We bring you INTERITUM from Tasmania, CONAN from England, PENTAGRAM from our soil, and an additional 47 top performing USA acts traveling from all across the continent!!

As if thatâs not enough, the MDDF Pre-Fest Party will be celebrating the 20th Anniversary of the SHoD (Stoner Hands of Doom) Festival with a spectacular lineup of bands who have performed at the great SHoD fests in years past!! The Pre-Fest / SHoD 20th Anniversary Celebration will be monumental in countless ways!!!!

Please support the Doom scene and share this epic event with your comrades and we will see you at #4daysofdoom !!!!

This week marks the arrival of the first new Earthride release in more than half a decade. The new single, Witch Gun, arrives via Salt of the Earth Records as the follow-up to their third full-length,Â 2010âsÂ Something WickedÂ (review here), which brought an expanded melodic palette from what the Frederick, Maryland, doom scene kingpins brought to their earlier work onÂ 2005âsÂ Vampire Circus, 2002âsÂ Taming of the DemonsÂ and their initial 2000 self-titled EP, songs like “Destruction Song,” “Watch the Children Play” and the opening title-track itself showing considerable growth on the part of the band, who remain in no small part defined by the unmistakable character and presence of their frontman,Â Dave Sherman.

Earthride returns in 2017 following a stint onÂ Sherman‘s part first in the reformed trioÂ Spirit Caravan and then inÂ The Obsessed that ended following the recording of that band’s 2017 comeback LP,Â Sacred (review here), but in addition to frontingÂ Weed is Weed,Â working on the new projectÂ Siren of Sorrows, and a history in and impact on Chesapeake doom that rivals the likes of Pentagram‘s ownÂ Bobby Liebling,Â Sherman is no less defined by his work inÂ Earthride thanÂ Earthride is defined by him. The thick grooves he rides so fluidly on vocals on cuts like “Earthride” from the self-titled or “Fighting the Devils Inside of You.” The track “Witch Gun” is no less a part of this pantheon ofÂ EarthrideÂ landmarks, and perhaps all the more so for the future productivity it might be kicking off.

With the prospect of making a new album for release in 2018 ahead of them,Â Earthride will hit the road in October alongside unhinged sludge purveyorsÂ Buzzov*en. It’s more than a solid match. Both acts are legends in their field and have grit to spare and a reputation for chaos. As Earthride take to stages for the first time with the lineup ofÂ Sherman, founding drummer Eric Little (who also was in the lineup forÂ Church of Misery‘s latest LP),Â guitarist Greg Ball and bassistÂ Edmund Allen Brown, they’ll no doubt be exposing a new generation of listeners to their hugely lumbering grooves and riffs that for the last 17-plus years have more than lived up to their stated ethic of “Pure Maryland Doom for the Brotherhood of Music.” All the better to give their audience a glimpse of what next year might hold in a new release, further touring, and a more fully reborn Earthride.

Sherman was kind enough to discuss all this and more.Â Please enjoy the following Six Dumb Questions:

Six Dumb Questions with Dave Sherman of Earthride

—

Tell me about stepping back into Earthride after being with Spirit Caravan and The Obsessed. How much does Earthride feel like coming home for you? Youâve been doing Weed is Weed all along, but how different is it for you fronting Earthride?

It feels very refreshing especially after I was treated unfairly in The Obsessed. I’ve known Eric Little since we were in high school together. We were in one of our first bands as well — Judgement Hammer — 1986-ish, which was Eric Little drums, Dave Sherman bass, Kelly Carmichael guitar and Billy Rines voice. We played two Pentagram songs the song âBlack Sabbathâ and three or four originals that later mutated into Internal Void riffs. I love Weed is Weed, which we came out with an EP available digitally [through our] Facebook. Check that out, but fronting the mighty Earthride, getting back at the helm feels real good again.

How did the new lineup for Earthride come together? Whoâs in the band now and how have the shows and rehearsals been? Of course youâre working with Kyle Van Steinburg and Eric Little again, but how much has Earthride changed over time for you? How do you feel about how the band has grown?

I was drinking local pub Guidoâs in Frederick, Maryland, and I ran into an old friend Edmund Allen Brown. We started talking music and heâs one of the best bass players Iâve ever met and a real go-getter, so I thought what a perfect bass player for Earthride. Greg Ball was in a band Hovel and was willing to try out as the second guitar player and Kyle is gonna be on the 45 new single Witch Gun, out on Salt of the Earth USA and Totem Cat out of France and distribution for Europe, but the new band sounds killer and it feels good to hear the songs again.

You played Maryland Doom Fest in June. How was that experience? Maryland Doom has grown so much since Earthride got going, and of course your history goes back much further than that. How do you feel about where the scene is now and where do you think itâs heading? Does âpure Maryland doomâ still mean the same thing for you?

Maryland Doom Fest was so good. Everybody was so into it and so happy to see Earthride again, smiling, cheering, headbanging. It was a pleasant surprise I think because the bandâs old and has had a bit of longevity in the scene and we just never got out there as much as we should have. Now that we have the new band and lineup we are fired up about getting out a new album and tour. We are going out with Buzzov*en in October for 10 shows, East Coast, Midwest. Just from the MD Doom Fest standpoint, I think the scene is growing around the world and has grown beyond belief from what it was back in the day, and I want to Thank JB Matson and Mark Cruikshank for having this amazing festival. Cheers.

Itâs been seven years since Something Wicked came out and 15 since Taming of the Demons. What can fans expect from the next Earthride album? Where are you in the process of putting it together? Do you know yet whoâs doing the recording/producing or has that started? Will the songs from the new single also be on the record?

I have a ton of ideas and so does the rest of the band. We recorded the Witch Gun single at Omega Studio in Rockville, Maryland, so that is probably where we will record the new record at. Out next year. Hopefully working on the material now.

Youâre doing the Descendants of Crom fest in Pittsburgh in September, but will Earthride tour for the new album? Any chance you could be headed to the West Coast or Europe in 2018, or is it a wait-and-see kind of deal for when the album comes out?

Yeah, we’re excited about everything we’re about to do and about what weâre trying to conquer which is people’s ears and trying to destroy their subconscious with heavy music. We’re doing the tour with Buzzov*en like I said on the East Coast and Midwest, which is gonna be a blast since theyâre old friends of mine, but in 2018 we plan to do some more touring, try to get this new record out there. I would like to get back to Europe with the band and possibly do Roadburn or tour some festivals.

Any other plans or closing words you want to mention?

I appreciate the interview and I would like everybody to be looking for us: Earthride, Weed is Weed and a very new project called Siren of Sorrows which has Starr Piazza on voice from the band Serpent Witch. Thanks and peace.

So I guess we’re pretty much ready to roll on Maryland Doom Fest 2017, right? We’ve had the lineup announced, we’ve got the schedule now. Might be another couple weeks getting t-shirts together — and hoodies; should’ve gotten a hoodie this year, which admittedly is something that occurs to one way less at the end of June than in mid-November — but then I’d say we’re about good to go. No need to wait until next summer on it. Let’s do this thing.

Maybe that’s just me being excited at the prospect of that Friday night lineup, which seems particularly strong front to back — not to take away from any of the other days, but you know I dig me some Lo-Pan — but either way, if Maryland Doom Fest‘s now-three-year tenure has been marked by anything it’s a lack of bullshit. A fervent get-down-to-business-and-kick-as-doing-it mentality. It’s perhaps the most “Maryland doom” aspect to the whole event. Maryland Doom Fest 2017 is clearly no different. Here we are more than half a year from the event kicking off and I know what time I need to be there on Thursday to watch Spillage start the pre-party. This is information I’m glad to have.

The hotel breakfast — not so much. I woke up pretty early after Day One of Vultures of Volume II, drawn by the allure of free scrambled eggs or at very least some carbs to start the day, but some lumpy-looking sausage and a weird egg/potato/cheese combo deal scared me off. A cup of coffee and a rigid search of the interwebs later, I found a cafe up the road a little ways.

A quick lunch would turn out to be my only meal of the day, because once it got going, Vultures of Volume II Day Two simply did not stop. First band, on at 1PM. Last band, off a little before 2AM. It was 13 acts and very nearly 13 hours of front-to-back performances, and by the time the day was a quarter over, the Delmar Inn in Hagerstown had developed full-on as a festival ecosystem. Just about everyone knew everyone else, and the vibe was thick throughout. Some were dragging after getting down a little too hard the night before, or at least hard enough, but the only thing to do was keep going. This festival, in the fine tradition of gatherings like Emissions from the Monolith, Stoner Hands of Doom, Days of the Doomed and the Eye of the Stoned Goat, would brook no absence.

Yeah, I was beat, but fuck it. It was rock and roll and I drove a long way to be there. The lineup for Day Two was Elder, Dorthia Cottrell of Windhand playing a solo set, Wretch, Weed is Weed, Carousel, Righteous Bloom, Foghound, Witch Hazel, Thousand Vision Mist, Wizard Eye, Wasted Theory, Buzzard Canyon and Heavy Temple, and the latter had the illustrious task of getting things rolling:

Heavy Temple

It had been more than two years since the last time I saw Philadelphia’s Heavy Temple, which was also the first time, and in between, bassist/vocalist High Priestess Nighthawk has completely revamped the trio’s lineup — she’s now joined by drummer Siren Tempestas and guitarist Archbishop Barghest — and has moved forward followingÂ the release through VĂĄn Records of the band’s self-titled debut EP (review here), which by my estimation was one of last year’s finest short releases. They played four songs, all of them new, and I was glad for the glimpse at what’s to come, finding creative progression evident in how smoothlyÂ Heavy TempleÂ seemed to weave in and out of parts, the fluidness with which they utilized classic stoner riffing without necessarily being beholden to it, and the dynamic betweenÂ Nighthawk and her newcomer cohorts,Â Barghest an almost shoegazing presence on stage whileÂ TempestasÂ seemed to throw her whole body at the kit while she played. Some presentation nuances to be ironed out between the three of them — that is, I think at this point the band could do away with the stage names, and NighthawkÂ is the only one in a ritual robe, though that was the case last time as well — but past those crucial decisions to be made between robes and denim shorts,Â they were sonically more than dead on, rounding out their set with well-timed starts and stops and off-mic screams that were effective in adding drama to a set that showedÂ Heavy TempleÂ as a band well on their way. Looking forward to their next EP, which is reportedly already recorded.

Buzzard Canyon

There was little one might reasonably ask of a hard rock act that Buzzard Canyon didn’t offer, whether it was the soul behind the dual vocals of Amber Leigh and guitarist Aaron Lewis, or the straight-ahead but still weighted grooves of bassist Randall Dumas and drummer Matt Raftery. Actually, there was one thing one probably could’ve asked of them: the second guitar they left behind in Connecticut when they departed for Maryland early in the morning on Saturday in time to make their slot at Vultures of Volume II. Pretty much everything else they had covered. There was just about no way I was going to go into their set thinking of them as something other than Lewis‘ band — I’ve just known that dude for simply too long, been a part of projects with him, done shows with his other band, When the Deadbolt Breaks, etc. — but it was not only great to see him play after what’s been too long, but likewise great to see him explore the more upbeat, rocking side. Buzzard Canyon‘s debut, which they decided on stage was eight tracks, maybe nine, probably 11 by the time it’s done, is apparently in the works, and though they were down a guitar, they did well as a four-piece, playing both songs from the two-songer CDR they brought with them to give away, “Wyoming” and “Not My Cross,” the former of which seemed a long-enough time to wait to break out the cowbell and the latter of which closed their set in reinforcement of the active feel of the material, not at all afraid to have a good time or encourage the crowd to do the same.

Wasted Theory

You know, I do dig Wasted Theory. The Delaware four-piece have come a long, long way since the first time I saw them, and they’ve done a couple tours and weekenders since they put out their 2014 full-length, Death and Taxes (review here), and that has only furthered their cause in both the tightness of their execution and their confidence on stage. Sometimes though, I feel like I’m just not quite dudely enough for it. Here’s these guys, and they’re killing it, singing songs about running ‘shine through the southland and this and that, and I’m standing there watching them feeling like I should probably call up my primary care physician and see if I can get some testosterone supplements or something so as to properly appreciate what’s going down on stage. As has been the case the last couple times I’ve seen them — and I’ll see them again before the month is out, if all goes according to plan — “Hellfire Ritual” and “Black Widow Liquor Run” were highlights, guitaristÂ Larry Jackson, Jr. having his “whiskey-soaked” in full effect while on either side, bassistÂ Jonathan Charles and guitaristÂ Dave McMahon followed a hairpin course of riffs propelled byÂ Brendan Burns‘ drums. They would not be the day’s last kick in the ass, but they were a vehement one all the same, even for one so apparently hormonally imbalanced as I. In all seriousness, Wasted TheoryÂ are scary tight for being still-recently off their first record, and by all appearances they’re only continuing to nail down what they do. Not trying to tell anyone their business, butÂ Ripple Music, keep an eye out.

Wizard Eye

We’re just about a month out from the release date of Wizard Eye‘s much-awaited self-titled second album on Black Monk Records, and the Philadelphia three-piece — Erik on guitar/vocals/theremin, Dave on bass/vocals, Mike on drums — seemed very much to be in good spirits ahead of the release. It was, as it was the last time I saw them, an absolute pleasure to watch them play. What they do isn’t overly complex or painstakingly crafted for nuance, but it’s impeccably well done and deceptively individualized. Most of what they played was culled from the impendingÂ Wizard Eye, which finds their semi-crusted rolling grooves firmly intact on songs like “Flying/Falling,” “Thunderbird” and “Eye of the Deep,” but there was one inclusionÂ on the setlist I didn’t recognize — “Revenant” — which isn’tÂ from the tracklisting I’ve seen for the new record, or from their 2010 debut,Â Orbital Rites, so I’m not sure if maybe it’s new or was left off the new album or what. Doesn’t seem unreasonable to think that after five years between outings they might have more material than just what’s showing up on the new LP. Either way, I’ll take their fuzz-overdosed nod any time I can. They were locked in tight atÂ Vultures of Volume II, and remain a much better band than people seem to know, which is something that the new album will hopefully work to correct.Â Erik went to the theremin just once, earlier in the set — was it “Gravebreath” or “Flying/Falling?” — but even so, they were a blast to see again and offered stone-baked groove in plenty for their afternoon set.

Thousand Vision Mist

Given that they take their moniker from the name ofÂ Life Beyond‘s 2002 debut/swansong full-length, and given that they share guitarist/vocalistÂ Danny Kenyon with that defunct MD trio, I guess I just assumed that when they got started,Â Thousand Vision MistÂ would essentially be an incarnation of the same kind of straight-ahead, post-The Obsessed/RevelationÂ Maryland-style doom. That was not the case. Together with be-chapeaued bassist/vocalistÂ Tony Comulada and drummerÂ Chris Sebastian,Â Kenyon led the charge through a set of fiery but progressive metal. Doom was definitely a part of it, and listening to the studio versions on their 2015 debut demo of cuts like “Garden of Ghosts,” “Drifter” and “Tears of the Moon” — which was particularly proggy coming from theÂ DelmarÂ stage — that holds up, but by no means was it the sum-total of what they had to offer. Instead, they pulled off quick turns and shifts while also having a heavy sensibility, and the technical intricacies came across fluidly as the crowd clearly loved on a hometown act. As a power trio, the dynamic lookedÂ to be more the guitar and bass, then the drums, rather than the standard guitar/rhythm section divide, but I’d by no means consider the matter settled considering they just have the five-song demo out, and for what it’s worth, they played a new song “Skybound and Beyond,” which they said had been written on Thursday, just two days prior, and though it seemed like it was about to come flying apart at any moment, it never actually did, andÂ Thousand Vision Mist‘s impressive control over their sound can only continue to suit them as they move forward.

Witch Hazel

It might have been enough for York, Pennsylvania, four-pieceÂ Witch HazelÂ to earn sympathy points for the recent loss of their hometown venue,Â The Depot, and it might have been enough that they broke out the weekend’s first tambourine to go along with their post-Pentagram ’70s-ish shuffle, but they alsoÂ featured some especially passionate cowbell/headbang action in the last song (when else?) from frontmanÂ Nate Tyson, and dedicated a song to Iron Man, so if there were bases to cover, they were duly covered. Some of it was a little over-the-top — as intended — with the eyeliner, elaborate pants, and so on, but hard to fault Witch HazelÂ for keeping an eye toward presentation. Their new album,Â Nocturnity, is available now, andÂ is a 28-minute concept piece that seems to be about a family with a bloodline that cures vampires, but though I don’t think “Moon People Unite” comes from that record, the crowd started to make its way back in to get a glimpse at whatÂ Witch Hazel —Â Tyson, guitaristÂ Andy Craven, high-cymbal drummerÂ Nick Zinn and bassistÂ Seibert Lowe, who was playing his first show with the band — had to offer with their shuffling style and weirdo neo-classic edge. They closed with “Secret Door” from their 2013 debut,Â Forsaken Remedies, which only furthered their boogie cred.

Foghound

No sooner did Baltimore’sÂ FoghoundÂ walk on the stage than they owned it. Seriously. Before they even started playing, the entire room was theirs. Last time I saw the band wasÂ Eye of the Stoned Goat IVÂ in Worcester, MA (review here), and they killed then, but this was a different league entirely. No doubt part of that stems from relatively-new bassistÂ Rev. Jim Forrester, who, likeÂ FoghoundÂ drummerÂ Chuck Dukehart III,Â is aÂ Sixty Watt ShamanÂ expat.Â ForresterÂ was kinetic on stage — and off it, as he hopped down on the regular throughout — and seemed to pull the rest of the band along with him,Â DukehartÂ sharing vocal duties with guitaristsÂ Bob Sipes andÂ Dee Settar all the while, the three of them switching back and forth here, coming together there, racing through material from their upcoming second album. They were a shot of life just when I was feeling like I needed it most, and while the locals, who obviously have more occasion to see them than I do, weren’t necessarily surprised by what they delivered, I was utterly blown away. Their new stuff was faster, meaner and tighter than 2013’sÂ Quick, Dirty and High (review here), and I liked that CD plenty. The tempo of the songs, the stomp and the energy they brought made them the band of the day up to that point, and cuts like “Serpentine” and “Rockin’ and Rollin'” were absolutely propulsive alongside the other “Dragon’s Tooth” and “Resurrect the Throwaways,” which remains almost insidiously catchy. That song was a bit of a slowdown comparatively, but the momentum held up anyway to the end of the set, and ifÂ Foghound brought even half of that level of vitality to the studio, their second record’s going to be a stunner.

Righteous Bloom

Whatever unfortunate drama brought about the change in the first place, I have to think particularly after seeing them play atÂ Vultures of Volume IIÂ that the changeover fromÂ Beelzefuzz toÂ Righteous Bloom will be a positive in the longterm for the band. Not even becauseÂ Bert Hall — speaking of chapeaus; his deserves its own Facebook page just so I can like it, unlike it, then like it againÂ — is such a monster player, though rest assured he is, as he’s proved over the years inÂ RevelationÂ andÂ Against Nature, but just for how much easier it is to take them seriously with the new name. I never sawÂ Beelzefuzz as a four-piece after they addedÂ Pale DivineÂ frontmanÂ Greg Diener as a lead guitarist, but he serves in that capacity well inÂ Righteous Bloom,Â Hall is indeed a master of groove, andÂ Darin McCloskey‘s fluid drumming is every bit as effective in the new band as it was in the old, adding classic style to underscore the eerie progressivism in frontmanÂ Dana Ortt‘s effects-heavy guitar work and live-multitracked vocals. Some of what they played came fromÂ Beelzefuzz‘s 2013 self-titled debut (review here) — “All the Feeling Returns,” “Lotus,” “Hypnotize” and “Reborn” garnering knowing appreciation from the crowd, myself included — but newer songs like “Within Trance” (posted here) andÂ “Nazz Riff”Â went overÂ with no trouble, as well as older demo cuts “Peace Mind,” which opened, “The Soulless” and “Hard Luck Melody,” Ortt‘s wide-eyed delivery throughout playing off a quiet “hey man” hippie routine between the songs that wasÂ Akerfeldtine in its entertainment value. Fact of the matter is that he could easily become the kind of dude who, years from now, people will talk about the first time they saw him play and try to compare notes for who got in lowest on the ground floor. I can’t make any such claim, but watchingÂ Righteous Bloom for the first time post-Beelzefuzz sure felt like a landmark anyway.Â Hall fit in perfectly,Â Diener‘s soloing wasÂ tasteful,Â McCloskey‘s timing and swing are as close to a sure thing as life has to offer andÂ OrttÂ was the madman front and center. There was nothing — and I mean nothing — not to dig. Their album can’t get here fast enough.

Carousel

If you’re having a good time,Â Carousel want to be the reason why. The Pittsburgh natives’ sophomore LP,Â 2113, was still pretty fresh in my head after its recent stream and review, so I was glad to have the chance to catch the four-piece live and experience the songs first-hand. They played the first three of them in a row — “Trouble,” “Photograph” and the unrepentantly hooky “Buried Alive in Your Arms” — and guitarist/vocalistÂ Dave Wheeler took the time to note between the second and third that the band is very well known for their expert sequencing. That was something I mentioned in my review, but I wouldn’t flatter myself to think they had any idea who I was other than drummerÂ Jake Leger, who also plays in reactivated ’70s rockersÂ Bang, who toured withÂ Kings Destroy last year for a run on which I tagged along. I’m sure it was a happy coincidence. Still,Â WheelerÂ was right,Â 2113Â was a well put together album, and I’m not really sure what might be wrong with that. Either way, their boozy classic-heavy good times carried over remarkably well live — turns out they know how to structure a set as well, dipping back to the title-track from their 2013 debut,Â Jeweler’s Daughter (review here), after “Buried Alive in Your Arms” — and their cardiovascular-style delivery felt like an all-around win.Â Wheeler took the time to introduce the band, starting with bassistÂ Jim Wheeler before getting toÂ Leger and guitarist/backing vocalistÂ Matt Goldsborough, who he noted handles guitar as well inÂ PentagramÂ from time to time and inÂ Trouble offshootÂ The Skull, and ending with himself: “And I’mÂ Dave,” the band playing behind him all the while in classic showman fashion. They slowed down the set and brought the energy level back up effectively with theÂ 2113Â title-track, and their catchy songcraft, ’70s vibes and, yes, sequencing, found much welcome.

Weed is Weed

You could give me a pad and paper and two full weeks to brainstorm ideas, but I’m not sure I could come up with anything more stoner rock thanÂ Dave Sherman frontingÂ Weed is Weed while singing through a mic on a custom stand made to look like a bong. It even had incense burning near the bottom so there was smoke coming out. That, my friends, is charm, andÂ Weed is Weed have plenty of it to go around betweenÂ Sherm clearly having a blast with the entire thing and the riffery provided by three — three! — guitarists:Â Gary Isom (ex-Spirit Caravan),Â Russ Strahan (ex-Pentagram) andÂ Rob Portillo. WithÂ Darren WatersÂ holding down yet more low end on bass throughout such family-friendly hits as “Cleptus Butanus” — a song about stealing lighters that featured a line about having enough in your pocket to build a butane rocket — and “The Bong Remains the Same,” Weed is Weed also introduced their new drummer,Â Tyler Lee, age 18.Â Gotta start ’em young. Worth noting that “The Bong Remains the Same” will also be the title of the six-piece’s next EP, and it must have been a hard call between that and “Reign in Bud,” which closed out,Â Lee teasing a SlayerÂ drum thud reference at the beginning before they took off on another stoner-for-stoner onslaught, their groove as undeniable as their central theme was dank. Does anyone say dank anymore? I don’t even know. In any case,Â Weed is Weed‘s particular brand of fun was infectious, and even as a non-smoker, their puns were second to none. Not a stem in the nugget.

Wretch

In much the same way thatÂ Righteous BloomÂ is a continuation ofÂ Beelzefuzz, so too doesÂ Wretch feel born directly from the demise ofÂ The Gates of Slumber. The Indianapolis three-piece hadÂ traveled the farthest to get to Hagerstown — headliners Elder would be no slouch in that department either — and they were heavy enough that the head sitting on top of guitarist/vocalistÂ Karl Simon‘s full-stack of cabinets was at several points very close to vibrating off and falling to the floor. It didn’t, thankfully, andÂ Simon, drummerÂ J. Clyde Paradis — who, likeÂ Simon, is a The Gates of SlumberÂ alum — and bassist Bryce Clark held down some of the weekend’s most thoroughly doomed vibes, morose plod and downer tones emanating at max volume. “R.I.P.” was a highlight, which feels strange to even say, and a couple of songs from the finalÂ The Gates of Slumber album, 2011’sÂ The WretchÂ (review here), were aired, among them “Bastards Born” and “The Wretch” itself. They finished out with “The Jury,” which originally appeared on 2004’sÂ …The Awakening debut from the defunct outfit, their set having been cut short on account of the usual running late, but ending on a faster note somehow suited them. From what I’ve seen, WretchÂ have a few studio tracks floating around, but I’ve yet to hear of anything recorded being due for public consumption. Seems like a no brainer that they’re one to watch given their pedigree andÂ Simon‘s established post-Vitus doom supremacy, but it’ll be even more interesting to see how they manage to stand themselves out fromÂ The Gates of Slumber and how much of what that band was will ultimately carry forward into the new one.

Dorthia Cottrell

Only one problem with puttingÂ WindhandÂ vocalistÂ Dorthia Cottrell on so late in the day for a solo acoustic set — everyone’s sloshed. Much to the room’s credit, people actually did really well policing themselves to keep conversation to a minimum asÂ Cottrell ran through a set of dark neofolk accompanied only by theÂ Delmar‘s fog machine and laser lights, the response to which was mixed but which I thought worked well. Anyone can play a sad twanger like “Maybe it’s True” fromÂ Cottrell‘s 2015 self-titled solo debut in the dark, but to do it with a lightshow going? That’s impressive. Those committed to being loud either moved to the back bar or went outside, but everyone who stayed was treated toÂ Cottrell‘s quiet, alternately traditional and minimalist atmospherics, her breathy delivery calling to mind any number of blues singers who earned the first nameÂ “Mama”Â while keeping consistent in its downtrodden feel to work with her main outfit. Influences were worn on her sleeve in coveringÂ Townes Van Zandt‘s “Rake,” a song bothÂ Wino andÂ Scott Kelly have taken on previously, and the traditional “Wayfaring Stranger” — the mere mention of which immediately sends my mind reeling back toÂ David Eugene EdwardsÂ andÂ 16 Horsepower‘s version on 2000’sÂ Secret South full-length, though everyone from Burl IvesÂ toÂ Neil Young has given it a shotÂ — was slowed-down and given due melancholy to comport with the rest of the set. A marked change in sound from the rest of the day, but more consistent in overall mood withÂ WretchÂ than one might initially think,Â CottrellÂ offered a moment of clarity asÂ Vultures of Volume IIÂ made ready to round out its journey on a sea of riffs.

Elder

“Dead Roots Stirring” made for an especially righteous opener. I hadn’t seen Massachusetts trioÂ Elder since the release show for their 2015 third album,Â Lore (review here), which continues to rightly garner praise from all corners of the globe and has positioned the three-piece as headliners for the first time both on tour and at fests like this one. They are quite possibly the East Coast’s most pivotal up and coming act at this point — the great heavy hope of an entire seaboard’s next-gen scene — and withÂ Lore, they’ve moved into a progressive style that’s entirely their own without giving up the sonic impact of their earlier work. And where the turns of “Compendium” were somewhat choppy back in March, two full tours (US and EU) later, they’re no less fluid than was “Dead Roots Stirring” at the start or “Release” from their 2012Â Spires Burn/Release EP (streamed here), guitarist/vocalistÂ Nick DiSalvo having apparently long since mastered the complex notations of his own design while bassistÂ Jack Donovan and drummerÂ Matt Couto held together the tight turns of that song and “Spirit at Aphelion,” also from the new album. Between songs,Â DiSalvo apologized to anyone who might’ve run into the band the night before, and that got a laugh from the crowd who had very clearly stuck around to see them specifically. They’ve grown not just tighter on the more recent songs, but in terms of their stage presence as well, and particularly withÂ DonovanÂ andÂ Couto, they were so locked in that they didn’t even really have to look at each other to know where they were and where they were going. That kind of chemistry only really develops with touring acts, which of courseÂ Elder have become, and and they continue to move forward withÂ LoreÂ and beyond, it will continue to serve them well. They are distinct sonic personalities, betweenÂ Couto‘s swing,Â Donovan‘s smooth, warm-toned basslines andÂ DiSalvo‘s penchant for exploring progressive psychedelic passages, but the way they’ve come to work together is truly something special, and they showed thatÂ in top form atÂ Vultures of Volume II, building and releasing tension throughout “Spirit at Aphelion” and closing out their set and the fest as a whole with “Gemini” fromÂ Dead Roots StirringÂ (review here), which seemed tailor made to be suited to the task. They’re still growing. They’re not done. But still, don’t be surprised a couple years from now when new bands are coming out and noodling like you hear onÂ Lore, because people have picked up in a serious way to whatÂ Elder are doing. They’ll get no argument from me.

—

In the back of my mind I’d had the thought of starting to drive home directly after the fest ended, getting in my car and pushing through all night on the highways of Maryland, Pennsylvania, New Jersey, maybe beyond. Didn’t happen. Instead, I not only went back to the hotel to crash out, but overslept and wound up making my return home even later than I’d intended. After 13 bands, the extra two hours of sleep might well have enabled my survival.

Before I wrap this up, I have to note the hard work ofÂ Kathy Reeves in puttingÂ Vultures of VolumeÂ together. No way a two-dayer like this is easy to make happen, but she pulled it off and made it look that way anyhow. Job well done, and thanks for having me down for the reminder of just how unique and welcomingÂ the Maryland heavy scene is.

It turns outÂ PullÂ had to them-out (get it?) of the first-everÂ Maryland Doom Fest, but they’ve been replaced by reunited riffersÂ Nagato, who got back together last year after a cessation of activity in 2012. Thick on vibe, they’ll add progressive atmospherics and gorgeous tone to the lineup of the fest, which takes place from June 26-28 atÂ Cafe 611Â in Frederick, Maryland. I’ve only been fortunate enough to see the four-piece once, atÂ Stoner Hands of Doom XIÂ in 2011 (review here), forÂ which they also played on a Sunday, but that set left enough an impression that four years later I keep hoping I’ll hear some news about them putting out a record sooner or later.

They might get there. I know the members ofÂ NagatoÂ are involved in a few other projects as well, so maybe their playingÂ Maryland Doom FestÂ is enough for the moment. They’ve joined a killer lineup, for which the final schedule has just been announced.

And just so we have it all in one place, alphabetically, here’s the full lineup as of now (there are still a couple months to go, things can change) for the inauguralÂ Maryland Doom Fest: Apostle of Solitude, Balam, Banned from H.E.L.L., Foehammer, Foghound, Into the Void, Iron Man, Lord, Mangog, Mindâs Eye, Nagato, Outside Truth, Primer Grey, Project Armageddon, Season of Arrows, Serpent Witch, Sixty Watt Shaman, Slaves B.C., Spirit Caravan, The Skull, Unorthodox, Valkyrie, Weed is Weed.

Poster by Audrey MantelÂ and running order follow, along with Nagato‘s return show last August:

Tickets go on sale March 6 for Eye of the Stoned Goat 5, set to take place June 12-13 at Amityville Music Hall, on Long Island. The Golden Grass and Mos Generator will headline, and the lineup has been finalized to include acts from the East Coast, the West Coast and in between — Lord Fowl,Â Wounded GiantÂ andÂ Brimstone Coven, if you need an example of each —Â in what’s without a doubt the most expansive Stoned Goat festival yet.

The poster for this year’sÂ Stoned GoatÂ is byÂ Joe Mruk, and you can see the final version below (click to make it even larger) followed by the official lineup announcement from the fest:

âEye of the Stoned Goat 5â announces official lineup for summer festival!

Snake Charmer Booking is pleased to announce the final artist lineup for the annual celebration of stoner-psychedelic rock and doom-heavy metal known as The Eye of the Stoned Goat Festivalânow in its 5th year. The two-day fest, featuring some of the most exciting talent of the Mid-Atlantic, East and West Coast, will take place June 12th and 13th 2015 at the Amityville Music Hall in Long Island, New York.

Headlining the Friday night opener on June 12th are Brooklyn, New York trio The Golden Grass (Svart Records), whose catchy progressive psychedelic self-titled debut received numerous accolades as the âBest of 2014.â Another band that has received copious amounts of praise from rock blogs and music rags alike are none other than Long Islandâs long-running rock outfit John Wilkes Booth, whose album âUseless Lucyâ was mentioned in many journalists âBest of 2014â lists. Also joining the bill from Long Island territory, those wildly eclectic heavy rockers Moon Tooth, who Metal Injection recently named one of â10 Awesome Underground Bands You Need in Your Life!â

Naturally, it wouldnât be a âStoned Goatâ show without giving attendees a healthy dose of band from the excellent Small Stone Records label. This yearâs elite selection includes three bands that are simply a treat to bring to the stage: Bostonâs master craftsmen and 2014 Desertfest alums, Gozu; local New York natives Itâs Not Night: Itâs Space; and returning âStoned Goatâ retro rockers Lord Fowl, currently working on the follow-up to their 2012 riff encyclopedia, Moon Queen.

More contenders for total rock domination include Ripple Music stalwarts White Dynomite, composed of former members of such fine acts as Roadsaw, Lamont, and Wrecking Crew, to name a few. Also on the Ripple Music roster, from Frederick, Maryland: Weed is Weed, featuring Dave Sherman and Gary Isom of Pentagram, Earthride and Spirit Caravan fame. Additionally, hailing from Pittsburgh, Pennsylvania, fans will experience the infectious âsludge nâ space rockâ vibe of Supervoid, who will be heading into the studio in February to record their follow-up to 2013âs Filaments.

For the first time, Seattle Washingtonâs own rising stars Wounded Giant will be bringing their blistering, monstrous, signature sound to this yearâs festival. Also spearheading the volume-dealing campaign from STB Records is Connecticutâs Curse The Son, whoâs latest offering Psychache (2014) was widely heralded as âthe best of its kind in 2014â by The Sludgelord and other critics. Another band traveling a good distance to bring their doomy, occult craft to the east coast is Metal Blade Recordsâ newest acquisition, Brimstone Coven, who are currently working on their much anticipated next album for the label. Speaking of travelling a long distances, the festival will witness the U.S. debut of Toronto, Canadaâs demonic stoner-blues rockers Olâ Time Moonshine. Alongside this already hefty bill, ESG5 has decided to treat festival goers to the atmospheric retro-doom stylings of Totem Cat Recordsâ own Doctor Smoke.

One band that has been tenaciously trekking through the rock scene for over a decade now is Philadelphiaâs working class groove dealers, Kingsnake. The four boys of Kingsnake have had the honor of performing alongside such acts as Clutch, The Sword, Scorpion Child, The Skull, and Vista Chino, to name a few. Also on board for the 5th installment of the festival, Long Island locals Borgo Passâa popular act that has developed quite an impressive loyal following.

Last, but not least, officially closing out this yearâs Eye of the Stoned Goat festival is none other than Port Orchard, Washingtonâs stoner rock torch-bearerâs Mos Generator. This marks the bandâs first ever performance in New York. Mos Generator have released 5 studio albums, a retrospective album, numerous splits, and a live album, attracting such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare. For charismatic singer/guitarist Tony Reed and crew, touring has been just as important to the profile of the band as making records. Over the years, Mos Generator has shared the stage with many great heavy rock bands, and in March of 2013 joined a 26-date European tour with Saint Vitus, earning a whole new fan base to their fuzzy, energetic sound. On stage, Mos Generator embodies the word “chemistry,” revolving their sound around swagger and groove, while improvising just enough to keep the songs feeling fresh from night to nightâoften with delightful results.

Tickets for âEye of the Stoned Goat 5â will officially go on sale on March 6th 2015. The Event will be 21+ with I.D. Tickets will be $15 per night, or $25 for a weekend pass. For more information on the Eye of the Stoned Goat festival, visitwww.TheEyeoftheStonedGoat.com